Via the always amazing blog of Alec Soth comes SVA Graduate Photo Department Chair Charles Traub’s list of grad school do’s and dont’s. A sampling: “Do celebrities—if you do a lot of them, you’ll get a book, “If it’s the ‘real world,’ do it in color,” “Don’t dare photograph yourself nude,” and “Don’t photograph indigent people, particularly in foreign lands.” The trusims that follow are also outstanding, including “The curator or the director is the one in black,” “The owner is the one with the Prada bag,” and “Know the difference.”
“These photographs are long exposures taken while playing video war games of the 80’s created by Atari, Centuri and Taito. The photographs were shot from video game screens while I played the games. By recording each second of an entire game on one frame of film, I captured complex patterns not normally seen by the eye.” Pop play with artist Rosemary Fiore.
“A Norwegian art historian who came by my house shockingly remarked that I was looking at the television and listening to rock music at the same time. Then suddenly everything turns still. Movement plays an important role in the way I live and work.” I love this photo and this photo by Tom Sandberg (via Alec Soth). Cinematically speaking, the photos remind me of this still from The Limey and this poster for The Bourne Ultimatum.
On a visit to The Photography Show 07 last week at New York’s Park Avenue Armory, I saw a ton of inspiring, engaging work. A few highlights include Tomoko Sawada’s ID photobooth series, Ray K. Metzker’s contact sheet-like timelapse prints, a reminder of the brilliance of Minor White’s simplicity, the joyously graphic “Pretini” series by Mario Giacomelli, the hauntingly still “Grief” seriesb by Erwin Olaf, the lonely complexity of Andreas Gefeller’s images, and—last but not least—a fantastic Cherry Hill filling station by the great George Tice.
“Unlike a painting or photograph, a graphic design is often an object as amalgam. In their work, a designer may use a photograph taken by a contemporary photographer, then combine it with a typeface that was released by a foundry in the early 19th century, which is all then set by a printer. In addition to this, the completed design is a ‘work for hire’ that was bought and owned by the company who originally commissioned the work. Yet, many families of designers are looking to retrospectively obtain full copyright control of their relation’s work.” Phaidon’s chief design biographer Kerry William Purcell at AIGA.org.
The wonderful photographs of Tomoko Yoneda, including this series of photographs where texts and manuscripts are seen through eyeglasses of notable figures from history. I found my way to these through the great site VVork, who just gave this interview that happily tells us a little more about their work on the site.